Saturday, July 11, 2009

Bead Furnace - Gas Jet 3

... referred to (why?) by Neil and Jean as the 'tea pot' style.

About the time Neil Peterson got seriously interested in compiling tables detailing just what forms, colours and shapes were common during the Viking Age, I had been introduced to the modern methods of making lampwork beads. At Dan Nickels' 'Folly in the Forge' workshop, a local glass bead maker had demonstrated the basic technique. Along with fellow blacksmiths David Robertson and Janis Book, some basic supplies and Corina Tettinger's (excellent) manual 'Passing the Flame' were purchased. Over the next several months, I had made about 100 beads using my oxy-propane torches, gaining at least a basic understanding of how tohandle hot glass in rod form.

Neil's experiments proceeded with a furnace based on the base plate remains from Ribe, Denmark, with a superstructure suggested by traditional Indian models. These used a dome like enclosure, with small working ports into the interior to contain the required heat. The glass would be manipulated inside the furnace through these ports. Neil is now working his fifth version based on this system.

In spring 2008, I had a chance to meet with Trene Theut, an artisan interpreter at the Ribe Viking Centre, and its glass bead specialist. At that meet, Trene described her most recent experimental furnace. The next day I was able to see this furnace on my visit to the site itself.
(Trene's Experimental Gas Jet Furnace at the Ribe Viking Centre)

The initial concept behind Trene's set up was to trap and utilize the hot gasses from the charcoal fire, rather than work inside the furnace itself. The combustion gasses escaped from small vent in the top of the roughly cylindrical clay structure. In this way the manipulation of the glass was physically more like working with a modern torch flame.
Although not designed specifically for this method, those working with Neil's 'oven' design, more and more were found to manipulate the glass in the 'chimney' holes in the top of the structure. (See Video Segment)
(Mark 2 'Teapot' Gas Jet Furnace in use)

To that end, a first two attempts at a building a specifically gas jet furnace were undertaken in May and July this year. This specific layout was quickly found to be quite unsuccessful, as the upper gas jet never produced enough heat to do much more than slump the glass rods used as a raw material.
Taking a close look at Neil's first renditions of the system, I thought I could apply some of my experience with charcoal fired forges to the design.
(Theoretical Gas Jet Bead Furnace - scale 1:2)

One of the biggest problems with the Mark 2 layout was found to be the sloppy fit between the large side loading port and the inserted annealing cup. The large gaps here were found to be venting as much (if not more) of the hot combustion gasses as the top working vent. One of the largest changes in the new furnace is that instead of a side loading port for charcoal, it is designed in two sections so that the entire top can be lifted off to add fuel. The top rim of the lower section is beveled, so that the upper body would quickly slide back to the correct location when it was replaced after loading.
A second major modification, is the change in the shape of the lower section of the furnace. Rather than an elongated D cross section, this proposed furnace is more of an 0 shape. The bellows tube is placed so that the distance below the furnace is roughly equal to the side to side measurement. This will allow the air blast to completely penetrate the charcoal mass, as well as cause any piled fuel to move down and into the air blast as it is consumed. A small hole into the interior, located roughly two inches above the bellows tube opening, would allow the operator to directly observe when the top of the charcoal had dropped to a level where addition was necessary.
In this arrangement, the bead maker sits directly opposite the bellows. There would be a small port with replaceable cover at the middle level of the side wall, allowing working of tesseri inside the furnace itself. (This using the method discovered at the Trillium demo, detailed in an earlier posting.)
Most of the detailed glass work is intended to take place in a second small chamber placed at the top of the furnace, directly over the exhaust port for the combustion gasses. This would have a single small opening, placed on the side closest to the glass worker. The very top of the furnace would have a shallow cup, intended to be filled with ashes to provide an annealing area headed from below.

With luck a first prototype of this modified furnace will be built and tested later in July.
(original post modified when Karen pointed out that TWO earlier versions of this type of furnace were constructed. The first was constructed and test operated during the iron smelt weekend May 30 by Neil and Jean.)

Friday, July 10, 2009

CANIRON 7



www.caniron.ca

Monday, July 06, 2009

Glass Bead Making Furnace

(duplicate post from the DARC blog)



Neil / Ragnar working with the mark five experimental bead furnace.
Trillium War, Whitby ON - July 4, 2009

This furnace is based on the base plate remains found at Ribe, Denmark, dating from the early Viking Age. There was no superstructure preserved, so a number of top designs have been experimented with. The combination of top vent and side port with cover appears to be the most flexible. Most likely a mark six design will be built, as new knowledge is gained every time a serious work session is undertaken.

One key techinque was stumbled upon (pretty much by accident).
An ongoing puzzle has been how the Norse worked with glass tiles (tesseri) as their source of raw glass:

This is a direct method (rather than involving a melting pot or creation of glass rods as intermediate step).
- work is done inside the furnace through a side port
- glass tiles placed on flat surfaced piece of charcoal (which can be used two or three times)
- wait till glass tile heats till edges just start to slump
- make sure your mandrill is well heated (to orange)
- touch mandrill to one corner of the tile to affix small corner of glass
- raise and twirl mandrill. This effectively pulls a stringer shaped finger of glass off the tile.
- now the process is like working with a rod, thickness of the stringer is controlled mainly by height the mandrill is lifted above the tile.
- This appears to reduce the amount of ash contamination, plus produce a correctly shaped bead (rather than the irregular shape produced by grabbing the entire tile at once.

Check the main DARC web site for more information on Neil's ongoing research and experimentation into VA glass beads and their production.

(Darrell)

Wednesday, July 01, 2009

Canada Day Beaver

A surprise visitor to our small pond, June 30:



HAPPY CANADA DAY!

Bob and Doug would be proud, now much more Canadian can you get than a visit by a BEAVER?

Our one acre lot in Wareham has a small pond in the back corner. A bank of earth separates it from the creek which runs just back the north line of the property. There is a small but noticeable 'game trail' that leads from the NW corner of the pond for the last several years. This year I have been finding cut off leaves and torn up roots from the clump of bull rushes that grow in the shallow south end of the pond. I was a bit puzzled as to what might have been doing this.
Caught in the act was the fellow seen above.


View facing NW, the beaver was foraging in the lower left corner.


I shot the footage standing along side one of the posts in the smelter shelter. We were able to watch the beaver munching on both rushes and some small willows we had planted on the SE bank, for a good half hour. Eventually it started to rain and we went back inside. (Now I know why those willows never seem to get any bigger than knee tall!)

A real treat, especially the evening before our National Holiday...
 
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